Art, Exhibitions, Process

Apples, two years old

I have kept the Apples from my degree show piece – ‘Sense’ which was exhibited in the following shows:
Barcode, University College for the Creative Arts, Farnham, May 2008
Free Range, Truman Brewery, London, June 2008
Lucy Barfoot,Room 212, Bristol, January 2009
New Contemporaries,Fairfields Arts Centre, Basingstoke, January 2009
They are like tiny little rocks, and they don’t smell any more. They are turning powdery – I wonder if one day they will just disappear? The blue and baby pink apples are three years old now. Older, but bigger. Must be something to do with the lacquer? I just spray painted those two and the others were covered in car lacquer, two coats.

I wanted to upload a video I have of the process of creating these apples, but the internet is not on my side today. Instead, I have here my learning proposal, which I haven’t worked on since, but still feels relevant to my practice now.

I have an addiction to experimenting. A compulsive need to make things. I am experimenting with the process of limiting the creation of artwork. As well as this, I place importance on two inner workings; pleasure in creating and simple aesthetics. Both are vital to my work.

I have no control over THE HAPPY ACCIDENT. I have an influence over my materials, but they are ultimately allowed to do what they want. I am only manipulating, having minimal involvement, such as dripping, pouring, filling, hanging. I am not always part of the work, it creates itself in the time when I am absent. Time and chance allow this to happen. I witness what the materials do, which is absorbing, a degree of immersion is involved – not just being a witness, but being the work; making a performance.

It is important for me to be excited, stimulated by what I’m making. I have a constant dialogue with myself whilst making, whilst still working fast to avoid being too self conscious. The thinking process is important – to keep changing my mind, thoughts evolving and changing.

I have an encounter with the work, my hands transforming the surface. There is a lot of time investment and use of multiples. The monotony of making and labor intensity is important. I appreciate the ENERGY TRANSFORMATION which is taking place, I create rituals of making.

My work relies upon structure and good planning. I figure things out. It is casual, but has beauty and order. It has an intimacy to it, a sensual appeal.
Within this, I regularly work with creating objects which are natural but manmade, I am making things artificial, sometimes influencing the longevity of there natural things, preserving them. I am very drawn to using candy colors. This color selection is important. It is what’s first seen, catching the eye and drawing you in. “what is this”.

I place importance on two inner workings; pleasure in creating and simple aesthetics. Both are vital to my work. this simple aesthetic is shifting to become economy and lightness. I see that this is contained in each of my pieces, drawings and ideas. I embrace this and feel like I have found out what my art is about.

Recently colour has become more important, something to think about rather than to pick at random. Great efforts are going to be made in finding the perfect colour for my sprayed apples. The optic effects of this colour when applied to many units of the same shape will be immense. This links to my sensuality and the enticement of senses. The sickly smell of fermenting apples will increase this optical dazed effect – the viewer will find it absorbing to view.

The encounter with my work is extremely important at this stage. I am a factory worker and the monotomy of these tasks I make myself complete have an effect on me. The balance of control is off-kilter as I feel like I am being controlled by my objects.

At this stage, I am thinking about exhibitions, how my work will stand on its own, how it will communicate – will it be site specific? I need to develop a confidence with placement. What will it be like to watch the reaction of the audience?
The use of words and writing will become manifested in the work in the following ways:
oI am thinking about titling work, what that could bring to my work, or if it would detract from it.
oI am reading more text, such as Bachelard’s musings.
oI am thinking of writing my own texts, using my imagination, and having writing exercises – such as a piece on what I imagine my final work to look like.
I will also talk about my work more. Advocating the work, speaking about it with authority and care. Having discussions.
I want to use the camera more thinking of the idea of video art, playing with time. Attempting to capture something – a moment when something strange and beautiful happens.

Looking into art as performance. The live art development agency.
Thinking about my ambition, looking to the future.
Commit to being present throughout my impending exhibitions. See this is a chance to advocate the work and be confident with it.
Still thinking about my ambition, looking to the future. How can I use my degree?

Susie Brandt – “A compulsive need to make things.”
Javier Peres – “I think people try to overemphasise the analytical and intellectual aspect of contemporary art. The reality is when contemporary art is being made, the people who are making it are just making it.”
Helen Chadwick – “Gorgeously repulsive, exquisitely fun, dangerously beautiful”
Joseph Havel – “Even though I make discreet works, I like to consider the way in which everything works together as an ensemble so that there is an accumulative effect, so that not only the work will have a specific intention or construction or some specificity, but the whole group of things will build to one kind of idea.”
Stockwell, Spencer Fitch, Ian Davenport, Anya Gallaccio, Phillida Barlow, Mona Hatoum, Fischli & Weiss, Anish Kapoor, Cornelia Parker, Eva Hesse, Jessica Stockholder, Susan Hillier, Christian Boltanski, Joseph Havel, Permindar Kaur,  Halen Chadwick, Matthew Barney
Anne Bean
Richard long
Richard tuttle
Yayoi kusama
contingent: 1 subject to chance


Exhibition Plan

My work is concerned with the sensations and placement of materials. I am attempting a detachment in the making, allowing accidents to happen and time to lead. Pleasure and attraction is involved in this.  My exhibition piece lies somewhere between installation and sculpture.

The piece will be vulnerable, light, and it will have a presence in the space. I am buying 1320 apples wholesale. These apples will be varnished and colour will be applied. This creates a seal, starting fermentation inside the apple. This is a long process of decay from the inside out. it which will be in its initial stages at the time of the Farnham Degree show. the fermentation will shrink the apples, giving off a sickly sweet smell.

I have arranged to use a spray booth as Drakes Shop-Fitting in Bournemouth. I am liaising with the spraying technician, who has suggested using a lacquer paint mix, which would require three coats. The spraying will be completed before May, allowing some time to ferment in time for the degree show.  The significance of using apples is to do with the minimal shape, yet keeping the essence natural. The accumulation of all these units is important also due to the repetition, both aesthetically and in the making; I become a factory worker with a production line.

The placement is key to my work. I am inspired by Richard Long’s closeness to materiality, and wish to create a perfect circle of apples (see drawings) The apples will have a relationship to the space. They will be placed directly on the floor, viewers will be encouraged to touch and get close to them, and will need to kneel or bend over to get closer to the objects.
1320 Apples – £150 (need to make more calls and find cheaper/sponsorship
Use of spray booth – FREE
Paint and varnish –  £70
Spraying apples – 3 solid days at spray booth
Apple placement – 2 solid days to work perfectly place each apple
Art, color, Exhibitions, Process, Studio

Glue Quilts

I have been prolific today. I was in the studio till 8pm, inspired, I kept finding more things to do and I’m only home now because I’m hungry for fish and chips mmm. A Friday night treat from Bishopston Fish Bar!

Today, I have: caught up on last night’s Big Brother with my neighbour Mia, taken home all the crockery from my studio and put it all in my dishwasher, recycled, taken rubbish to the dump (I’m the ‘head housekeeper’ of the studio you see), done a layer of papier mache on the balloons ready for the Big Lebowski festival tonight at The Lanes, Bristol, put up a wall in the studio, painted that wall, watched 4 episodes of the L word whilst doing most of the above, made a friend a birthday present collage, bound my birthday blind-drawing papers, wrote this blog, started my glue molds,

So these ‘glue molds’, they are for my my exhibition: Surface/Space/Time’ at The Crypt Gallery, London (26th Aug – 9th Sept) which is curated by and also showing the work of Sam Clift who is a nice chap that I went to uni with.

I have been meaning to get on with starting the glue molds for months. I created some whilst at uni, and made this small quilt with them:

The idea I have for the exhibition is very similar, but with edited colors and on a much larger scale. The patchwork is made by filling big spoons with a mix of PVA, water and ink. They take AGES to dry, and the final stage sewing the patches together (but i’m thinking about spray-mount??)

Today I started working out the quantities of glue to water I need to make the perfect mixture for the molds. I have five plastic cups, 1-5, 1 has 30 parts water to 70 parts glue, 2= 40:60, 3= 50:50, 4= 60:40, 5= 70:30 I need the mold to be the perfectly supple, and not brittle. I have poured the liquids into 5 different ladels, and I’ll wait (about a week?) to see which mixture makes the perfect consistency of mold. Process! It’s been a long time since I focussed on process. It’s where my heart lies with my art, and it felt really good to get into this again today.


Art, Process, Studio, Text Project, Thoughts

Mono printing

I have been working pretty hard on my ‘Text Project’ and needed some escape from that. I’ve chosen it to be mundane and repetitive, and I love that, but sometimes I do need to release some more creativity within some other format. And yesterday, this came through mono printing. I used my little roller, and a piece of acetate to ink up, it’s so easy and mess-free. I used some sequins too, and got involved with drawing a lot of small squares, again – very repetitive, I can’t get away from it! The little pictures are not hanging on a washing-line type of structure in my studio – I have always wanted a studio with things hanging from washing lines, and now I have it. I’m so lucky.

Art, Process, Thoughts

Artists Statement and Deviantart

My Artist’s statement on my website:

“Hello I am Lucy Barfoot, I have a degree in Fine Art and it feels good. I live in Bristol and have done since graduating in 2008 with a Fine Art degree from the University of Creative Arts in Farnham, Surrey

I create a large variety of work, but my love is within sculpture-installation. I enjoy making stuff from ready-made stuff; apples, syrup, lists, petals. I like to make tiny sculptures, sew little lines onto paper, make ink + PVA molds, and blind draw.

The word ‘quirky’ is often used to describe my art – I’m not sure if I like that or not, but it fits. I combine process-led, repetitive actions with a satisfying, sensual aesthetic. I’m greatly attracted to objects, I feel a compulsion for things, and I listen to my intuition – this is my starting point.

My work is mostly ephemeral and I like to mix the natural with the man-made.”

I used to spend a lot of time on DeviantART, an online community for artists which provides a place for any artist to exhibit and discuss works. I used to upload all my art to there, since i was young till the first year of uni, and my gallery has culminated over 13,000 page-views. I’m heavily mentioning my website on there, so that the followers of my work can have a look, because for 13,000 people to see my current work would be really exciting. Anyway, My deviantart thingy is HERE if you want to have a look.

Art, Barfoot and Duggan, Process

Glue Reciept Mounains begin!

Barfoot and Duggan in action! Lucy and I are using Trevor’s reciepts (he has collected every reciept ever since he was 16) to create some kind of mountain. We’re working out the aesthetics and concept continually, but getting close to the material – covering it with glue, pushing it around, into cracks and peaks.

We’re making small ones, well not really small – 4ft x 3ft mountains, and then taking them on location, on a sunny day, filling in the gaps to make one big mountain, then after lots of photographing and thinking, deconstructing it and bringing it

Art, Exhibitions, Process

Room 212 + New Contemporaries

This Saturday I showed my apples in the window of Room 212, which is a tiny Art Gallery in Bishopston, on the Gloucester Road. Three in each window, close to the glass so that people could peer at them and wonder what they are. This great little place is usually brimming with paintings; i got a few funny looks. Here’s my profile on the Room 212 website.

Today i was at Fairfields Art Gallery in Basingstoke setting up ‘Sense’ to show as part of the ‘Young Contemporaries 2008′ show. The circle or apples look a bit ridiculous to be honest. It’s tiny! There is no impact. The original circle of the 1,200 will be included in the catalogue, so there will be a history shown.

Art, Process, Thoughts


I forget sometimes how process-led I am. It’s important for me to savor the process of the making; it is just as important as the finished piece. And i love the process of cooking. Obviously eating is pretty good, but the real enjoyment is in making.

I especially love the terribly boring things. You would not believe the stillness my brain has whilst doing these dull things. It’s like a little vacation. I get sucked in.

Art, Bristol, color, Design, Process, Thoughts

Bristol Mural

So the first creative venture i went on since moving to Bristol was to paint a mural on someone’s garden wall. It felt great to be back into it, and I am so pleased with how it looks. I’m thinking that this may be the start of something – i would love to continue painting murals. it’s not quite the ‘real’ stuff – as in the things i was doing during my degree, but that’s OK, it’s nice to be simple and just focus on aesthetics, which is a big focus of my work really. There is more to come – i was taking a few pictures on my tripod, so i am thinking of making a little animation of the process.